Make It Fun for Everyone!

Abstract

This chapter will provide an overview and strength of games, as well as examining the element of fun influencing gamers’ behavior in games. The development of sophisticated algorithms and the increased coverage of the internet help electronic games succeed and increase, overflowing the traditional boundaries in which they were traditionally confined. As the game industry enjoys continual and rapid growth in the market, it is important to examine the features that make games so attractive and keep players coming back for more. Professional game designers often take it for granted that people just want to play their games, rarely examining the psychology of their gaming audience. Hence, the aim of this chapter is to focus on understanding the meaning of fun in games and the interaction with algorithms, which will create diagrams to predict gamers behaviors in a game. Personal data collected through algorithms can be a tool for game designers to develop future games for specific audiences. The rationale is that examining the psychology behind the subjective element of fun will help increase the interaction between gamers and the game for the algorithms to create the appropriate environment for the player.

1. Introduction

Throughout the years, video games have become a multi-billion-dollar media industry, reporting profits of more than the movie and music industries combined [1]. Sajid et al. [2] understood that video games and gaming industry reported revenue of $12 billion per year, with Hilgard et al. [3] adding that particularly in the US the video game industry is among the fastest-growing sectors of the economy. In 2014 Cox [4], compared the video game industry revenue with other entertainment industries such as movie and book industries to investigate the revenue difference. The blockbuster movie at that time (“Harry Potter and the Deathly Hallows”) recorded earning $169 m in revenue during its opening weekend, while the book “Harry Potter and the Deathly Hallows” generated $220 m in the first 24 hours of release. To highlight the difference between them, two industries and the gaming industry Cox [4] presents that in the same year, a game called “Call of Duty: Modern Warfare 3” raised $400 m in revenue in just the first day of release; when the same video game generated $1bn in revenue within the first 16 days, overcoming the previous entertainment record set in 2009 by the film “Avatar” within the first 17 days of release.

Gaming has become a very popular activity for both adults and adolescents and a major leisure activity in contemporary societies [5]. Even though most video players are aged between 18 to 34 years old (40%), 27% of players are being overage 50, leading to the average player being 35 years old [6] indicating that there is also a big percentage of players over the age of 35 spending time on video games, and highlighting that players cannot be grouped into one age demographic. Reports from the Interactive Software Federation in Europe show that more than half of Europe’s population plays video games and nearly half of them are female (46%) [7], showing that there are also no demographic differences between gender. Studies in the US show that 80% of people aged 18–34 play video games for more than 3 hours a week [6] when the average time spent gaming per week is estimated to be around 8 hours and 42 minutes [7].

As video games have grown in universal popularity, they have also grown in diversity [3], empowered by the development of technologies, such as smart mobile devices, advanced algorithms, and internet accessibility [8]. Mobile games use generational innovations to become available on multiple platforms [9]. The advances in the current digital era and the increased coverage of the internet help electronic games succeed and increase [10], overflowing the traditional boundaries in which they were confined [11]. As the game industry enjoys continual and rapid growth in the market, it is important to examine the features that games are so attractive and keep players coming back for more [12]. Professional game designers often take it for granted that people just want to play their games, rarely examining the psychology of their gaming audience [13]. Previous studies (see [6, 13, 14]), investigated behaviors of players when playing games creating a typology of them. However, previous literature with limited exceptions (see [15]) has not investigated in depth the meaning of fun for the players ecosystem. Hence, the aim of this chapter is to focus on understanding the meaning of fun in games and the interaction with algorithms which will create diagrams to predict gamers behaviors in a game. To achieve the aim this chapter will review relevant literature and previous research that focused on behaviors of players in games and their preferences in several types of games. Using some of these findings, this chapter creates a diagram to measure players’ behavior in a game.

2. Games

2.1 Power of games

McDaniel and Forsyth [16] identify that video games are popular activities among both youth and adults. Just in the USA about 97% of teenagers appear to play contributing toward video games and gaming industry to report revenue of $12 billion per year [2]. Similarly, reports since 2015 announced high percentage in countries such as Australia, where 95% of adolescents have access to at least one video game device in their home through tablet, smartphone, or personal computer (PC) [17]. Even though the attachment of teenagers with video games has been a stereotype over the years, studies like Adachi and Willoughby [18], report that video gamers age demographic is expanded to older adolescents and emerging adults. In their report they understand that 81% of 18–29-year-old Americans play video games and half of them play games at least a few times a week [18]. Rogers [19], supports the previous arguments reporting that over 183 million people, (or 49%) of adults in America, play video games, supporting that video games attract and engage individuals at any stage of their life.

Becoming more varied, socially inclusive, and accessible, video game sales now surpass the US$43 billion mark and boast larger revenue streams than digital music and blockbuster films combined [20]. Back in 2016, the video game market in the USA was valued at over $17 billion mainly through three companies, namely Microsoft, Sony and Nintendo, monopolizing the home video game industry [21]. In Germany, the gaming industry is ahead of other cultural and media industries with more than 6.2 billion euros in revenue a number to grow 19% in 2023 [22]. The popularity of video games in the past decade is also empowered by the rapid development of smart mobile devices [8]. Apple’s “App Store” and Google’s “Google Play” announced that 19.2 billion mobile games were downloaded in 2016 and users spent on average $40 per device on premium applications, dominating consumer spending [23]. Two years later Apple Store and Google Play both announced increases in numbers to 21.8 billion with forecasts for continued growth in the future [24].

The revenue numbers are impressive compared with other entertainment industries such as cinema and books, but still more impressive is the engagement gaming industry provides. The ‘average’ video game player has been engaged with the activity over several years, resulting in more people from different age groups engaging with playing games. In their research Smith et al. [17] found that Australian adolescents play computer games anywhere between 2 and 18 hours per week. Similarly, American teens play video games around 13 hours per week [16]. Increased time spent in video games also affects adults looking at a report from Yu and Chan [25], showcasing that older adults consider themselves gamers playing video games for pleasure or even training activities. Gamers play some kind of video game for over 15 hours a week, where non-gamers play video games less than 4 hours [26]. Overall, statistics show that since 2011, people were already spending an average of three billion hours a week gaming with the number increasing exponentially through the years [10]. The abovementioned report supports the argument that gamers are engaged with games over a period.

2.2 Games and algorithms

As video games exhibit progressively expansive game environments, there has been growing interest in employing generative computational algorithms to mitigate the cost of authoring game content [27]. The advantage of computational techniques lies in the promise to reduce the involvement of a human designer, hence enabling financial advantages due to smaller development teams, but also content that would otherwise be impossible. Advanced algorithms generate content more flexible than content generated by hand, providing opportunities for the game to adapt to the unique preferences of individual players, making that content more personal. For example, games generated by advanced algorithms evolve software that can recognize behaviors and patterns and adapt to players preferences. In open map games, the fitness of a given weapon design is inferred from the behavior of the player during the game progress; if the player uses a weapon frequently, similar weapons are made available, and where a weapon is left unused, it appears less frequently [27].

The outcome of this evolved technology means that the content is highly personalized, promoting individual preferences and creating engagement and sustainability, hence user is more likely to be engaged with the system as they recognize their preferences and problem-solving mechanics in the game. The success of the previous example derives from the fact that the user is continually using the system giving plethora of information to the platform, and this can only be achieved if the user is engaged with the system providing data to the system to be utilized in future activities and tasks. Despite the evolution of technology and advanced algorithms, the success of the system relies on engagement with the player, so data to be absorbed and patterns to emerge.

The relationship between computational techniques and the engagement with the game seems to be interdependent since players engagement is needed for the game to collect enough data to acknowledge a profile for the player, and on the other hand, these data will be transformed into mechanics and esthetics that will make the game personalized and engaging. Considering that gaming is optional activity [16], the engagement of the gamer with the game is not given, hence for gamers to return in the game, the system will have to create previous enjoyable experience. In the year 2010, Hoffman and Nadelson [28] found that engagement in games is translated to achievement, motivation, and task persistence. Two years later, Vorderer and Jennings [13] further add that the main tool enhancing the engagement in games and differentiating them with other entertainment industries (such as movies) is the element of control that games provide to the user creating a sense of immersion and interactivity.

Looking at the two big entertainment industries, it is obvious that the main difference between them industries is the element of control that games provide to the user due to the interaction between the gamer and the game through advanced algorithms that take advantage of that. Unlike movie viewers, game players not only process information provided by the medium but they also contribute to the quality and progress of the media product itself, with their decisions and actions determining how a game looks, develops, and ends. This is a result of a continuum interaction between the game and the gamer, and the data collected informs algorithms to personalize the experience and make it more appealing and fun. Despite the acknowledgment of the interdependence between the algorithms and the engagement, industry understands that [13] professional game designers often take it for granted that people just want to play their games, rarely examining the psychology of their gaming audience. However, the rising global popularity of video games is occasionally associated with research interest in solving issues related to video games such as decision-making, movement, strategy, and pathfinding through algorithms [29]. However, it is not only the technological advances of games that enhance the engagement between the gamer and the game [30] because from the psychological standpoint, the concept fun is seen as the most important and necessary factor in game playing [16].

2.3 Engagement in games

Professional game designers often take it for granted that people just want to play their games, rarely examining the psychology of their gaming audience [13], focusing on developing the technology and esthetics in the game rather than the patterns that create engagement. In 2015 Siemens et al. [31] highlight that importance for individuals acknowledging that even though it is within human nature to like games, not everyone likes the same kind or style of games. Marczewski [32] agrees on the subjectivity of the topic stating that despite the capability of designing games, serious games, or gamified systems without knowing who the target players are, it is more likely to achieve an engaging experience when the target players are identified first. Melodia et al. [33] then argue that the captivation of video games appears to lie in their potential to fulfill those psychological needs also refer to as motives to play. Lastly, Parapanos and Michopoulou [34] also agreed on the importance of recognizing the psychological need of players’ motives when playing games for better engagement.

According to Hilgard et al. [3], the subjective norm behind players motives to play games inspired researchers, players, and game developers measuring individual differences in game motivations and preferences. Human motivation refers to the internal process that activates and maintains physical and psychological activity and impacts the direction and strength to move toward goals [6], highlighting the subjectivity of the topic. As early as 2004 Bartle [15], first recognizes that in a non-entertainment industry, the answer behind motives toward an activity is hidden behind the clear and easy answer of the mandatory nature of that action. Since 2008 gaming industry understood that in video games, players are not required to play the game, meaning that their first decision is whether to play at all and continually reevaluate whether to keep playing [35], which led to studies behind why players are playing and engaged in video games. Thus, their participation is voluntary, and players expect to get an enjoyable and fun experience to keep playing [15].

Vorderer and Jennings [13] argue that most theoretical work on the enjoyment of playing video games has focused on the issue of interactivity and player action during gameplay but rarely does the game industry examine what truly engages players. Theories of “player personality” began with Bartle, speculating that players are separated based on the degree to which a player acts or interacts with other players and/or the game world creating four types of gamers (achievement for Achievers, Exploring for Explorers, Socializing for Socializers and Imposition upon others for Killers) [3]. Another model comes from Yee, who surveyed players of massively multiplayer online role-playing games (MMORPGs), identifying three factors composed of ten subcomponents [3]. These factors included: Achievement, consisting of subcomponents advancement, mechanics, and competition; Social, consisting of socializing, relationships, and teamwork; and Immersion, consisting of discovery, role-playing, customization, and escapism. Different results were showed in a survey for first person shooter (FPS) games, with gaming motives there to be more related to competition and sense of control [36]. Kahn et al. [37] focused their study on massively multiplier online (MMO) and multiplayer online battle arena (MOBA) players and their motives to play these two types of games revealing five characteristics: socializing, exploring, competing, skill development, and escapism. Li et al. [38] also studied the motives to play MMO games for adolescents and found that socializing, achievement, and immersion as important senses.

Demetrovics et al. [39] developed the motives for online gaming questionnaire (MOGQ), which included seven gaming factors: social, escape, competition, coping, skill development, fantasy, and recreation. Francisco et al. [40] in a similar study developed a videogaming motives questionnaire (VMQ), revealing eight factors to play video games: Recreation, Social Interaction, Competition, Violent reward, Cognitive development, Customization, Coping, and Fantasy. Huang and Hsieh [41] investigated the experiential factors toward online games finding significance in three motives (Entertainment, Challenge, and Control). In their research Hsiao and Tang [42], investigating factors toward mobile movie-themed games found similar results (Flow, Act, Relate). In a similar context of mobile gaming, Merikivi et al. [43] found some interesting results in relation to factors explaining enjoyment, with challenge, novelty, design esthetics, and ease of use all contributing toward making mobile games enjoyable. Finally, Wu et al. [44] found seven factors (Escape, Skill development, Fantasy, Coping, Recreation, Competition, and Social) toward Internet gaming. Lastly, report from the Entertainment Software Association (2019), most video gamers (79%) report playing video games for mental stimulation and 78% report gaming for relaxation and stress relief [7]. The above studies are summarized in the table below and showcase different results in the engagement characteristics of players depending on the type of game.

The importance of motives to play games for the development of a game has taken a new direction in the latter ages with the advanced algorithms incorporated in games. Previous studies have used traditional methodologies (such as qualitative and quantitative approaches) to understand or measure the elements that make a game fun and engaging. However, the latest technology can measure patterns in a game and measure gamers behavior and use sophisticated algorithms to replicate those tools that make a game fun for different gamers (Table 1).

Author(s)	Game mode	Characteristics
Bartle	MUD	Achievement, Socializing, Exploring, Imposition upon others
Yee	MMORPG	Achievement, Socializing, Immersion
Demetrovics et al.	Motives for Online Gaming Questionnaire (MOGQ)	Socializing, Escapism, Competition, Skill development, Coping, Fantasy, Recreation
Li et al.	MMO	Socializing, Achievement, Immersion
Kahn et al.	MOBA and MMO	Socializing, Escapism, Exploring, Skill development, Competition
Laconi	FPS	Competition, Control
Francisco et al.	Videogaming Motives Questionnaire (VMQ)	Social Interaction (Socializing), Competition, Violent reward, Cognitive development, Customization, Coping, Fantasy, Recreation
Huang and Hsieh	Online games	Entertainment, Challenge, Control
Vorderer	Online games	Competition, Exploring, Achievement, Immersion, Socializing
Wu et al.	Internet games	Escapism, Skill development, Fantasy, Coping, Recreation, Competition, Socializing
Hsiao and Tang	Mobile movie-themed games (MMGs)	Flow, Act, Relate,
Merikivi et al.	Mobile games	Challenge, Novelty, Design Esthetics, Ease of use

Table 1.

Studies focused on engagement in games.

2.3.1 Socializing

Looking at the table above reviewing the literature, it becomes apparent that the most popular influence to play games is the opportunity they create to socialize (see [14, 15, 37, 38, 39, 40, 44]). According to Bartle [15], players would use the game as a communicative facility and apply the role-playing that these engender as a context in which to converse (and interact) with other players. Yee [14] considered Bartle’s definition on socializing within games and added that players find fun in games when the social factor assesses the motivation to communicate with other players, and they form significant and long-lasting relationships with others cooperating and communicating to complete a task in the game. Kahn et al. [37] argue that games, such as League of Legends, capitalizing on this element adding game mechanisms and social interaction protocols that will allow players to socialize and communicate. Wu et al. [44] show that in-game socializing leads to such satisfaction and strives for further building of relationships via gaming. The outcome of this taxonomy should inform the algorithms that certain groups of players are more likely to find fun in a game when allowed to interact with others and socialize for game-related or nongame-related purposes. In return, the algorithm will provide gamers with the appropriate tools to do so.

2.3.2 Achievement

Previous literature also highlights that players will find it engaging when they feel they can get a sense of achievement. These players will give themselves game-related goals and vigorously set out to achieve them [15]. According to Yee [14], the sense of achievement in games will force players to look for status of power and wealth for their in-game characters, and they will work toward understanding the game in detail to utilize the systems better than others. Li et al. [38] explain that achievement is a sense that will influence players to increase gaming time in either raiding or in player vs. player (PvP) combat. Fun through achievement occurs when players can collect points and rise in levels, and all are ultimately subservient to this [15]. This indicates that algorithms should identify players rank higher in achievement behavior and provide task to enhance that behavior.

2.3.3 Immersion: Escapism - flow

Immersion is another factor players see as fun and engaging in games. Immersion is the state where a player learns and discovers the game world, customizes their characters, creates a sense of role-play, and escapes from the daily routine [38]. Escapism is also a sense that has similar meaning as it is defined as playing to forget daily problems [40]. Vorderer [13] explains that players become actively involved in the game world and escape from their daily life when playing games leading to a sense of immersion. Looking at the definition of immersion, it is recognized that immersion and escapism are similar; hence, they are merged as one similarly to Yee [14]. Flow has a similar meaning with immersion and escapism. Demetrovic et al. [39] define flow as the state of concentration or complete absorption with the game, leading to a sense of engagement that strong during which temporal concerns (time, food, ego–self) are typically ignored. Previous studies identified that games allow players to escape from their daily routine and transfer into an imaginary world, enhancing the element of fun.

2.3.4 Competition

Competition is another important sense in game enjoyment. It is similar in meaning with achievement; however, it occurs through the desire of social comparison [38]. For example, Demetrovic et al. [39] find that competition requires some form of comparison of achievements since players like to “…defeat others” or “… compare knowledge with others”. Wu et al. [44] agree with the social comparison promoted by the sense of competition defining it as competing with others. Looking at the discussion of around competition, it becomes apparent that even though there is a feeling of achieving for the player, it is not enough to enhance the element fun, but it requires some comparison with other players in the game making it interactive with others. Bartle [15] agrees that there should be a division between the two categories saying that some people find element of fun when they are imposing upon others and killing off their personae (characters) with joy coming from the greater the distressed caused. Algorithms in games should be able to identify the difference in behaviors and cluster players with higher levels of competitiveness separated from gamers with higher levels of achievement. This is translated to activities that enhance competitiveness between gamers and more interaction with others than the system.

2.3.5 Exploring

Some of the reviewed literature highlights that players will find it fun when they can explore the virtual world. Bartle [15] was the first to express that highlighting that this group of players find fun having the game expose its internal machinations to them, by mapping its topology, to then advances to experimentation with its physics. Bartle’s statement recognizes the interaction between the gamer and the system and the behavior to exploit hidden components in the environment. This interaction should help algorithms measure the behavior and provide tasks to enhance the behavior. Yee [14] agrees with this opinion mentioning that players find it fun when they can discover items or find hidden things in a map. Kahn et al. [37] further discusses players exploration activities in the virtual world identifying that these players like to explore hidden areas in the game and the game mechanics to optimize their game performance. These groups of players like to explore and conquest unknown scenes and possibilities [39]. It is then important for these players to interact with virtual worlds and discover hidden treasures.

2.3.6 Customization

Another very important element contributing toward the meaning of fun in games is the ability they provide to the player to customize. Kim et al. [45] define customization as the activities, where users can modify some aspect of an interface to a certain degree to increase its personal relevance. Shaw et al. [46] mention that several researchers have already looked at the relationship between avatar customization and player enjoyment of games. Kim et al. [45] agree with this opinion and explain that customization is a very critical sense to enjoyment. Customization will include any color changes to game elements, choice of background pictures, avatar customization but it may also include selection of background music sounds, and other features [47]. Shaw et al. [46] do add to this opinion finding that in the context of games, players ability to customize characters leads to greater feelings of presence and psychophysiological indicators of emotion. The ability of games to allow gamers to customize their experience is what differentiates the game industry with other entertainment industries. It could then be argued that when players play games will most likely be interested in building the character itself rather than the story or the level of the game. Even though customization has been directly linked with immersion [14] as it allows players to build an avatar and become actively involved in a virtual world, is seen as independent meaning of fun as it does not immediately result in that outcome. Instead, the sense of immersion could be a result of other mechanics of the game.

2.3.7 Challenge: Skill development

Literature also explains that players find fun in skill development and challenges. Meriviki et al. mention that players seek challenges, and for a game to be challenging, it must provide personally meaningful in-game goals whose attainment is not certain [43]. For instance, in first person shooter (FPS) games competition and challenge scored higher than other dimensions for committed players [37]. Among other things, challenges are important motivations for gameplay as they are interactional dynamics between players and videogame system [48]. Even though the meaning of achievement, competition and challenges look similar they have a main difference since competition is compared and interactive with other players when achievement is interactive with the system. Challenges in a game can be interactive with other players or personal, hence they are independent typologies in the meaning of fun. Instead, challenges are more related in meaning with the skill development theme described by Wu et al. Demetrovics et al. and Kahn et al. Hsiao and Tang [42] argue that for engagement to occur both challenges and skill development must exist and exceed the level of difficulty that is typical for the individual’s day-to-day experiences. This shows that players find fun when the game promotes a challenge, where they must come up with a strategy and improve their skill to overcome the tasks and level up.

2.3.8 Esthetics

Design esthetics seems to also contribute toward creating a fun environment for players. Merikivi et al. [43] defined design esthetics as the degree to which a person believes that the platform is esthetically pleasing to the eye. It can then be argued that good design esthetics, such as music, sound effects, and animations, are important components of a video game experience and can contribute toward tolerating other imperfections in game design. Atkinson and Parsayi [49] do mention that game mechanics is a complex context, and every aspect contributes toward enhancing the element of fun for the player experience. For example, plot animations and pictures, which are used to reward important events (such as defeating an enemy or leveling up) contribute toward making that event more fun. Cao [50] discussed the importance of esthetics in video games highlighting the importance of visual art and esthetics in the progress of the game.

2.4 The concept of fun

In previous sections, the overview of games showed their success as an industry. The concept of game in relation with algorithms was examined, and studies that explore gamers’ preferences were explored, identifying eight main elements (Socializing, Achievement, Immersion or Escapism or Flow, Competition, Exploring, Customization, Challenge or Skill development, and Esthetics). Games looking into applying elements to enhance the sense of fun should be aware that players will show preference in at least one or more of these senses. The acknowledgment of this typology of players leads to valuable practical implications as it provides a useful tool for designers to understand their audience to classify players’ profiles and promote mechanics that may be more likely to enhance the sense of fun leading to engagement with the game. Game developers should investigate mechanics that can enhance fun since players are likely to be engaged to use the system because of these elements. The outcome of this engagement in addition to the evolved algorithms will create a highly personalized content promoting individual preferences and creating an attractive environment. The classification suggests that game designers should focus on building an experience in the game that satisfies all eight typologies, so to create a desirable ecosystem, where every player will find something fun to stay in the game for.

Previous studies investigated the characteristics of players when playing games with a variety of results depending on the game. Bartle [15] identifies a common characteristic behind those studies clarifying that in the topic of games the answer to the question of “Why do people play?” sounds obvious at a superficial level since people are playing games for fun, but what creates the fun? Fun is a subjective term, and it could result in so many different features that must go into a game to make it fun for everyone. Despite, the significance of their results that question remained open. This chapter is trying to answer this question exploring eight characteristics of the meaning of fun reviewing literature. The biggest outcome of the literature is that a game should be balanced for all players with every typology helping the system to thrive. Looking at the results of the table it becomes apparent that different games serve different enjoyment, hence different fun elements. Bartle highlights that, clarifying that in his research every player used to tend at least a bit at all four elements, however, they had a bigger tendency toward one. For example, players who explain fun as achievement still enjoyed socializing, exploring, and imposition upon others if it could lead them to more tasks to achieve [15]. This is to highlight the complexity of the term fun in the game since each typology is not independent, but it relies on every other one to enhance the sense of fun in the game. Taking that into consideration, it is assumed that every player will have a tendency at least a bit at all eight elements, however, they will have a preference toward one (see Figure 1). The diagram measures fun on a scale from 1to 10, depending on the behavior of a player in-game activities and engagement to tasks and mechanics.

Figure 1.

Socializing in a perfect environment.

For this example (Figure 1), the game includes mechanics to promote all eight characteristics and attract every player. The player shows engagement in mechanics and tasks that promote socializing, and the behavior is tracked through algorithms to match the profile of someone with a social preference in the meaning of fun. However, the diagram shows that the player still engages in activities that promote other behavior but on a smaller scale. In this essence, the player will find the mechanics that will make the game fun mostly through socializing; however, they will be looking into other tasks in the game since they might help them to get more opportunities to socialize. The same player in the second game (Figure 2) does not find enough game mechanics promoting socializing; therefore, it is more likely that the game is not that fun and will look at other games. Even though, the player will fit into the game and engage with mechanics that promote fun through achievement, competition, or challenge. Still, the fact that the game does not promote socializing enough would probably make the game less fun for the player. The example is to show that each player in a game is unique, and they have unique interpretation of the meaning of fun. This meaning of fun can be measured through the behavior of a player in-game activities and engagement to tasks and mechanics. This would then create a psychographic for the individual, which will then classify what mechanics will be more attractive for the player. Every player in a game will fall into a similar but independent diagram because every player will be different.

Figure 2.

Socializing in a lacking environment.

It is important to highlight that beside the personal psychograph for the player, there is also the relationship between players that might affect the perception of fun for each one. For example, (Figure 3), when a player high in preference in achieving meets a player with high preference in socializing could affect the fun elements for both. In the diagram below, it is shown how the player high in socializing is now ranked higher (from 4 to 6) in the achievement element since they both enjoy playing together. This is to show the complexity of measuring the element of fun for players when they play a game. However, it is important for a game to understand the behavior of each player and the mechanics that make the game more attractive for the player to enhance the engagement between the player and the game.

Figure 3.

Interaction between players.

As video games exhibit progressively expansive game environments, there has been growing interest in employing generative computational algorithms to mitigate the cost of authoring game content [27]. These algorithms can formulate these diagrams helping the game to provide the appropriate tasks for each player and make the experience more personal and engaging. As Vorderer and Jennings [13], discussed the main tool enhancing the engagement in games and differentiating them with other entertainment industries (such as movies) is the element of control that games provide to the player. This is the result of advanced algorithms creating opportunities for the game to track previous behavior and provide appropriate tasks and mechanics, so the player has the desired tools to progress in the game. As a result of this interaction, the game can measure the element of fun for each player and enhance this feeling, by providing the appropriate tools.

3. Conclusion

Professional game designers often take it for granted that people just want to play their games, rarely examining the psychology of their gaming audience [13]. Previous studies (see [6, 13, 14]), investigated the behaviors of players when playing games creating a typology of them. However, previous literature with limited exceptions (see [15]) has not investigated in depth the meaning of fun for the players ecosystem. Hence, this chapter focused on exploring the meaning of fun in games, which results in increased interaction with the gamer and absorbing more data to feed the algorithms. The idea is that the more data an algorithm absorbs the more advanced experience it can create for the gamer. In today’s game science, it is very important for a game developer to apply sophisticated algorithms, which in return will create a fun experience for the gamer not only to play the game but also return to the environment frequently. Personal data collected can be a tool for game designers to develop future games for specific audiences.

To satisfy this aim, this chapter has reviewed gaming literature and previous research that focused on the behaviors of players in games and their preferences in several types of games. Using some of these findings, this chapter created a diagram to measure players’ behavior in a game. From there, it suggests that players’ meaning of fun can be measured by ranking previous behavior to explain the fun element for each player. Literature review revealed that the meaning of fun is subjective for each player, and it is not specific to one characteristic but a combination of a few senses. This chapter recognized eight senses from the literature (Socializing, Achievement, Immersion or Escapism or Flow, Competition, Exploring, Customization, Challenge or Skill development, and Esthetics) a game can use to enhance the feeling of fun for players. Each player will find fun in each of these eight senses, however, there will be a significant tendency toward one of them. It is suggested that every player in a game will develop such a psychograph based on behavior and patterns.

The outcome of this chapter is the presentation of diagrams showcasing the relationship between fun and gaming algorithms. Presenting an example of a player with tendency toward socializing, it showcases that a player will find the mechanics that will make a game fun mostly through socializing mechanics, and other mechanics in the game, they will be ranked supplementary in importance. This is to highlight the importance of including enough social mechanics for that player to enhance the meaning of fun; otherwise, it is likely that the player will not find the game as fun as others and lose interest and engagement. Considering the nature of the topic, it is also presented an example where interaction between the social player with other players (in this case someone ranked high in achievement) will affect the previous behavior and as a result, will affect the overall fun aspects of the game deteriorating the diagram.

The concept of fun is difficult to describe, especially within a game, since it offers a special intrinsic satisfaction to the player, which will eventually lead to the engagement with the game and play. Recreating fun is expenditure of time and technology in a manner designed for therapeutic refreshment of an individual’s body or mind in the form of play activity. The relationship between play and fun in games is found to be very complex and dependent on the way it is framed. Schell [51] tried to put a definition on play referring to the term as activities, which are accompanied by a state of comparative pleasure, exhilaration, power and the feeling of self-initiative, and other characteristics such as imagination, competition, and problem-solving. This chapter tried to explain the previous statement, by creating the fun measuring diagram. It is believed that game designers should acknowledge the meaning of fun for players when building a game and include algorithms to measure players behaviors in a game to promote the appropriate tools so to create the desired engagement.